⛧
Rest in Pain (1991)
Recorded in 1991, Rest in Pain is the first Hypocrisy demo. Apparently, it was recorded by Peter Tägtgren, as a solo effort. He would later go on to re-record the entire demo, with some additional songs, after meeting Masse Broberg. The original version already shows that Peter had a fairly good vision of what he wanted his band to sound like.
Musically, the songs are very similar to the versions that would appear on Penetralia. The production is much more raw, as one would expect from a demo. That being said, it's really not bad, at all. All of the instruments are pretty clear, and Peter's solos are already one of the highlights of the sound, at this early stage. And it must be said that the one tremolo riff, near the middle of "Suffering Souls", sticks out very well and sounds much better on this version.
As it regards the vocals, there's really nothing wrong with them. Nonetheless, it is easy to see why Peter wasn't completely satisfied. His vocals don't compare with Masse's, at this point, in terms of power or focus. Still, they're not very far off and it is doubtful that anyone would have really had a problem if he had continued on as vocalist. All in all, bringing Masse in was a wise move, but not absolutely necessary.
In the end, the album versions are slightly tighter, but this demo serves as an interesting glimpse into the early development of this band. If you are able to track down a copy, it is recommended.
Musically, the songs are very similar to the versions that would appear on Penetralia. The production is much more raw, as one would expect from a demo. That being said, it's really not bad, at all. All of the instruments are pretty clear, and Peter's solos are already one of the highlights of the sound, at this early stage. And it must be said that the one tremolo riff, near the middle of "Suffering Souls", sticks out very well and sounds much better on this version.
As it regards the vocals, there's really nothing wrong with them. Nonetheless, it is easy to see why Peter wasn't completely satisfied. His vocals don't compare with Masse's, at this point, in terms of power or focus. Still, they're not very far off and it is doubtful that anyone would have really had a problem if he had continued on as vocalist. All in all, bringing Masse in was a wise move, but not absolutely necessary.
In the end, the album versions are slightly tighter, but this demo serves as an interesting glimpse into the early development of this band. If you are able to track down a copy, it is recommended.
(26 June 2010)
Penetralia (1992)
Penetralia is the debut full-length from Sweden's Hypocrisy. It marks the only time that the band functioned as a five-piece. Released in October 1992, on Nuclear Blast, this album displays a strong influence from American death metal. This is credited to Peter Tägtgren's time living in the states. He played with Malevolent Creation for a short time, and it seems it affected his mentality as it regarded songwriting. Still, there is enough here to prove that this Satanic death metal album is the work of Swedes.
Despite bearing some characteristics that were already becoming a little too common and generic, by that time, this album features a good number of interesting riffs and manages to keep its head above water. Peter's solos were already distinctive, as he had found his own style. That is one of the things that brings some identity to early Hypocrisy. As far as riffs go, Penetralia is a very dynamic album. There are a fair amount of thrash riffs to be found and, of course, tremolo picking throughout the songs. Already, as would become more evident as time went on, there were some riffs that had more of a black metal feeling. It was this combination that really helped establish the dark atmosphere. Most importantly, as is heard on songs like "Impotent God" and "Nightmare", there are slow doom riffs that really create a dismal feeling. Even at this early stage, it is clear that Hypocrisy's moments of brilliance are, often, during the slow parts. This was something not uncommon in the Swedish death metal scene, but there was something darker in the way that Tägtgren structured his songs and his lead solos added to this, quite well.
Whereas most bands choose to lead the album off with their strongest song, Hypocrisy's debut appears to build momentum as it goes along, increasing with quality as you get deeper into it. "Jesus Fall" is a good example of this, with a great tremolo riff that would have worked just as well in a pure black metal song. The production and deep vocals are the main things that even give this song a real death metal feeling.
The vocals are another thing that set Hypocrisy apart from many of their Swedish peers. Masse Broberg didn't utilize the typical style found in bands like Entombed or Dismember, nor really that of Unleashed or Grave. Masse's voice is very rough and, though his vocal style is quite deep, it still possesses a very raw feeling. Compared to albums like Shadows of the Past, by Sentenced, or even Covenant, by Morbid Angel, those vocalists have more of a refined sound to their voices. Interestingly enough, Peter handles vocals on the title track and doesn't sound too far off from Masse, though his efforts prove even more raw and uncontrolled. It's clear why he didn't feel that he would be a suitable vocalist, and only took over once Broberg was kicked out of the band a couple years later.
The production of the album isn't necessarily unique. It's rather standard, almost reminiscent of the Morrisound production style, at times. However, it's a little rougher and this suits it just fine. The fact that so many death metal bands were trying to sound exactly the same, around this time, still fails to make sense. In the case of Hypocrisy, it may have been a combination of preferring the American sound as well as not wanting to follow the crowd and record at Studio Sunlight. Based on the style of songwriting, it's quite possible that Penetralia would have sounded similar to Necrophobic's The Nocturnal Silence, if they had gone there. In truth, it might have been an improvement, but there are no real complaints. Speaking of Necrophobic, it is with bands like this that Hypocrisy had more in common with, as opposed to the more popular Swedish bands.Penetralia also shares some characteristics with Nothing But Death Remains, by Edge of Sanity, and Dark Endless, by Marduk.
The song arrangement is another interesting facet of Hypocrisy's debut album. Particularly, the second half of the album really begins to showcase their abilities. One of the highlights has to be the slow section of "Left To Rot", where a doom riff is joined by a cold tremolo riff, coming together to create something very dark and menacing. "Burn By the Cross" builds on this; after some memorable thrash riffs, yet another slow section draws the listener in and really envelopes them in darkness. "To Escape Is To Die", immediately, catches your attention with the melodic lead guitar riffs and dynamic tempo changes. "Take the Throne" is very similar, in that it features some of the most memorable riffs on the album and serves well to create a sense of tension that builds to the climax of the album.
It has to be said, again, that one may think that the higher quality songs should have been spaced out a little better, to give the record more balance. However, the first half is good enough to keep you interested so that, by the time you reach the second half, you are dragged into the abyss and mercilessly assaulted. As you reach "Penetralia", you are weakened and vulnerable to the most intense song of the whole album. After an eerie intro that features some clean guitar and keyboards, the furious riffs are unleashed and Peter's harsh vocals slice into you. The tremolo riffs are incredible and the drumming pounds through your skull. As mentioned earlier, Hypocrisy always had some black metal feeling present in many of their songs. By the midway point, another slow riff is introduced, with distant vocals that soon turn into something otherworldly. Some other, demonic, voices then rise up from the depths and are joined by a haunting riff that seeps into your subconscious. There is a brief return to the sounds from the intro, before the speed picks up again and you are exposed to some great lead solos. As the song continues on toward the end, it picks up in speed and you feel as if you might explode. And then, all collapses and it is over... for now.
Looking at it now, the song arrangement was very wise, as it leaves the listener with a very good impression. What Hypocrisy began on Penetralia, they perfected on 1993's follow-up album, Osculum Obscenum. They soon became more comfortable in their sound and found their style, going on to create one of the best Satanic death metal albums, ever. It all began here. This is highly recommended to any fan of early 90s death metal, as well as those interested in the early works of this band.
Despite bearing some characteristics that were already becoming a little too common and generic, by that time, this album features a good number of interesting riffs and manages to keep its head above water. Peter's solos were already distinctive, as he had found his own style. That is one of the things that brings some identity to early Hypocrisy. As far as riffs go, Penetralia is a very dynamic album. There are a fair amount of thrash riffs to be found and, of course, tremolo picking throughout the songs. Already, as would become more evident as time went on, there were some riffs that had more of a black metal feeling. It was this combination that really helped establish the dark atmosphere. Most importantly, as is heard on songs like "Impotent God" and "Nightmare", there are slow doom riffs that really create a dismal feeling. Even at this early stage, it is clear that Hypocrisy's moments of brilliance are, often, during the slow parts. This was something not uncommon in the Swedish death metal scene, but there was something darker in the way that Tägtgren structured his songs and his lead solos added to this, quite well.
Whereas most bands choose to lead the album off with their strongest song, Hypocrisy's debut appears to build momentum as it goes along, increasing with quality as you get deeper into it. "Jesus Fall" is a good example of this, with a great tremolo riff that would have worked just as well in a pure black metal song. The production and deep vocals are the main things that even give this song a real death metal feeling.
The vocals are another thing that set Hypocrisy apart from many of their Swedish peers. Masse Broberg didn't utilize the typical style found in bands like Entombed or Dismember, nor really that of Unleashed or Grave. Masse's voice is very rough and, though his vocal style is quite deep, it still possesses a very raw feeling. Compared to albums like Shadows of the Past, by Sentenced, or even Covenant, by Morbid Angel, those vocalists have more of a refined sound to their voices. Interestingly enough, Peter handles vocals on the title track and doesn't sound too far off from Masse, though his efforts prove even more raw and uncontrolled. It's clear why he didn't feel that he would be a suitable vocalist, and only took over once Broberg was kicked out of the band a couple years later.
The production of the album isn't necessarily unique. It's rather standard, almost reminiscent of the Morrisound production style, at times. However, it's a little rougher and this suits it just fine. The fact that so many death metal bands were trying to sound exactly the same, around this time, still fails to make sense. In the case of Hypocrisy, it may have been a combination of preferring the American sound as well as not wanting to follow the crowd and record at Studio Sunlight. Based on the style of songwriting, it's quite possible that Penetralia would have sounded similar to Necrophobic's The Nocturnal Silence, if they had gone there. In truth, it might have been an improvement, but there are no real complaints. Speaking of Necrophobic, it is with bands like this that Hypocrisy had more in common with, as opposed to the more popular Swedish bands.Penetralia also shares some characteristics with Nothing But Death Remains, by Edge of Sanity, and Dark Endless, by Marduk.
The song arrangement is another interesting facet of Hypocrisy's debut album. Particularly, the second half of the album really begins to showcase their abilities. One of the highlights has to be the slow section of "Left To Rot", where a doom riff is joined by a cold tremolo riff, coming together to create something very dark and menacing. "Burn By the Cross" builds on this; after some memorable thrash riffs, yet another slow section draws the listener in and really envelopes them in darkness. "To Escape Is To Die", immediately, catches your attention with the melodic lead guitar riffs and dynamic tempo changes. "Take the Throne" is very similar, in that it features some of the most memorable riffs on the album and serves well to create a sense of tension that builds to the climax of the album.
It has to be said, again, that one may think that the higher quality songs should have been spaced out a little better, to give the record more balance. However, the first half is good enough to keep you interested so that, by the time you reach the second half, you are dragged into the abyss and mercilessly assaulted. As you reach "Penetralia", you are weakened and vulnerable to the most intense song of the whole album. After an eerie intro that features some clean guitar and keyboards, the furious riffs are unleashed and Peter's harsh vocals slice into you. The tremolo riffs are incredible and the drumming pounds through your skull. As mentioned earlier, Hypocrisy always had some black metal feeling present in many of their songs. By the midway point, another slow riff is introduced, with distant vocals that soon turn into something otherworldly. Some other, demonic, voices then rise up from the depths and are joined by a haunting riff that seeps into your subconscious. There is a brief return to the sounds from the intro, before the speed picks up again and you are exposed to some great lead solos. As the song continues on toward the end, it picks up in speed and you feel as if you might explode. And then, all collapses and it is over... for now.
Looking at it now, the song arrangement was very wise, as it leaves the listener with a very good impression. What Hypocrisy began on Penetralia, they perfected on 1993's follow-up album, Osculum Obscenum. They soon became more comfortable in their sound and found their style, going on to create one of the best Satanic death metal albums, ever. It all began here. This is highly recommended to any fan of early 90s death metal, as well as those interested in the early works of this band.
(25 June 2010)
Osculum Obscenum (1993)
Recorded in early 1993 and released that October, Osculum Obcenum is the second full-length album from Hypocrisy. Their sophomore effort built upon the foundation laid by Penetralia, improving on its flaws to create an absolute beast of a record. This is dark, Satanic death metal with elements of black, thrash and doom mixed in.
The songwriting is another level, compared to what many were doing in the Swedish underground. There are frequent tempo shifts but not just for the sake of showing off. Throughout the record, the songs move between faster sections, slower doomier parts and crushing mid-paced riffs, but everything feels like it is building toward something. None of the tracks ever feel like a handful of 'cool' of riffs repeated for a few minutes. Everything here has a purpose. Just as importantly, there are moments where things settle down and let the riffs breathe, which serve to deepen the atmosphere and keep the album from feeling like a constant assault.
The album constantly shifts moods. At times it sounds eerie and epic, while at others it becomes violently evil. There are also gloomier moments, such as parts of "Infant Sacrifices." The music reinforces and re-emphasizes these elements as the album moves forward, making Osculum Obscenum feel like a cohesive whole more than just a collection of songs. Despite whatever happens to be going at any given moment, the oppressive atmosphere of dread is ever-present.
Some of the strongest moments come from the slower sections. The morbid riff in the middle of "Exclamation of a Necrofag", followed by the screams and an eerie guitar solo, is one of the highlights of the album. It sounds like the lifted it from Where No Life Dwells and made it even darker. "Attachment to the Ancestor" is another standout, demonstrating that the band was often most effective when slowing things down. The entire song has a nasty, evil feeling to it. Even the mid-paced riffs that begin the title track have an ominous quality.
One would not be incorrect to call this blackened death metal, as several of the tremolo riffs would not have been out of place on a black metal album from this period. At the same time, this mixture of black and death metal riffing bears similarities to Necrophobic's debut album. It is ironic that this was the first Swedish death metal record that I ever heard, considering the various instances where one can hear American influences, such as the opening riff of "Althotas" which sounds reminiscent of early Cannibal Corpse. One can also hear some influence from Morbid Angel's Altars of Madness on tracks like "Necronomicon" and "Inferior Devoties".
Unlike many of the death metal records from this time period, Osculum Obscenum doesn't feature the sort of flattened, sterile production that was such a plague upon the style. The guitar sound here is quite rough, with a lot of rusty, jagged edges. Instead of all of the instruments merging into one smoothed-out wall of sound, there is a strange separation here; the guitars, bass and drums all stand out in a way. As for the latter, there is no clicky double-bass anywhere on this L.P. In fact, while the drumming isn't the best, it actually suits the music in a way. At times, Lars seems like he is doing all that he can to keep up with the others, and his barbaric approach adds to the violence of the faster parts.
The vocals suit the material very well. Masse's performance is quite powerful and raw, with no reverb or other effects. It somehow adds to the primal, savage feeling. For the most part, he utilizes a deep and gravelly approach, but frequently adds in higher-pitched black metal cries. Sometimes, these are overdubbed and the result sounds like some chorus of demons, giving quite a hellish vibe. These layered vocals hearken back to early Deicide.
Another notable element is the use of keyboards, done here in a rather effective manner. The album is bookended by an intro and outro that sound like an '80s horror score and work like a framing device that really helps to set the tone. This element appears in a handful of places throughout the material, sparsely and appropriately used to emphasize a nightmarish atmosphere.
Osculum Obscenum is an absolute classic of blasphemous and epic death metal from a time when so many bands were becoming increasingly clinical and soulless. Hypocrisy took elements that existed elsewhere in the Swedish scene and combined them into something darker and more memorable. Why this record is seemingly overlooked is beyond me, as it is not just the most solid and consistent album that they ever recorded, but absolutely kills so many of the better-known releases of the time. Absolutely essential!
The songwriting is another level, compared to what many were doing in the Swedish underground. There are frequent tempo shifts but not just for the sake of showing off. Throughout the record, the songs move between faster sections, slower doomier parts and crushing mid-paced riffs, but everything feels like it is building toward something. None of the tracks ever feel like a handful of 'cool' of riffs repeated for a few minutes. Everything here has a purpose. Just as importantly, there are moments where things settle down and let the riffs breathe, which serve to deepen the atmosphere and keep the album from feeling like a constant assault.
The album constantly shifts moods. At times it sounds eerie and epic, while at others it becomes violently evil. There are also gloomier moments, such as parts of "Infant Sacrifices." The music reinforces and re-emphasizes these elements as the album moves forward, making Osculum Obscenum feel like a cohesive whole more than just a collection of songs. Despite whatever happens to be going at any given moment, the oppressive atmosphere of dread is ever-present.
Some of the strongest moments come from the slower sections. The morbid riff in the middle of "Exclamation of a Necrofag", followed by the screams and an eerie guitar solo, is one of the highlights of the album. It sounds like the lifted it from Where No Life Dwells and made it even darker. "Attachment to the Ancestor" is another standout, demonstrating that the band was often most effective when slowing things down. The entire song has a nasty, evil feeling to it. Even the mid-paced riffs that begin the title track have an ominous quality.
One would not be incorrect to call this blackened death metal, as several of the tremolo riffs would not have been out of place on a black metal album from this period. At the same time, this mixture of black and death metal riffing bears similarities to Necrophobic's debut album. It is ironic that this was the first Swedish death metal record that I ever heard, considering the various instances where one can hear American influences, such as the opening riff of "Althotas" which sounds reminiscent of early Cannibal Corpse. One can also hear some influence from Morbid Angel's Altars of Madness on tracks like "Necronomicon" and "Inferior Devoties".
Unlike many of the death metal records from this time period, Osculum Obscenum doesn't feature the sort of flattened, sterile production that was such a plague upon the style. The guitar sound here is quite rough, with a lot of rusty, jagged edges. Instead of all of the instruments merging into one smoothed-out wall of sound, there is a strange separation here; the guitars, bass and drums all stand out in a way. As for the latter, there is no clicky double-bass anywhere on this L.P. In fact, while the drumming isn't the best, it actually suits the music in a way. At times, Lars seems like he is doing all that he can to keep up with the others, and his barbaric approach adds to the violence of the faster parts.
The vocals suit the material very well. Masse's performance is quite powerful and raw, with no reverb or other effects. It somehow adds to the primal, savage feeling. For the most part, he utilizes a deep and gravelly approach, but frequently adds in higher-pitched black metal cries. Sometimes, these are overdubbed and the result sounds like some chorus of demons, giving quite a hellish vibe. These layered vocals hearken back to early Deicide.
Another notable element is the use of keyboards, done here in a rather effective manner. The album is bookended by an intro and outro that sound like an '80s horror score and work like a framing device that really helps to set the tone. This element appears in a handful of places throughout the material, sparsely and appropriately used to emphasize a nightmarish atmosphere.
Osculum Obscenum is an absolute classic of blasphemous and epic death metal from a time when so many bands were becoming increasingly clinical and soulless. Hypocrisy took elements that existed elsewhere in the Swedish scene and combined them into something darker and more memorable. Why this record is seemingly overlooked is beyond me, as it is not just the most solid and consistent album that they ever recorded, but absolutely kills so many of the better-known releases of the time. Absolutely essential!
(6 Sept. 2008)
Inferior Devoties (1994)
A short time after the release of Osculum Obscenum, Hypocrisy found itself with the problem of having to eject their vocalist, Masse Broberg. Rather than recruit a new member, Peter Tägtgren simply stepped into that role as well. He had already done vocals for the title track of their 1992 debut, Penetralia. In an effort to ease himself (and the fans) through this transition, it was decided that the band would record an E.P. In October 1993, the band entered Studio Rockshop to create Inferior Devoties, their first release as a three-piece.
The E.P. begins with "Inferior Devoties", which sounds to be just the same instrumental track as that found on the previous full-length, with only the vocals replaced. One might assume that the point of doing this was to prove that Peter could handle the earlier material, though it comes off a little weaker than the original version. His vocals were not quite as refined as they would be on The Fourth Dimension. The atmosphere is much the same, with an added crispness to the sound, which is barely perceptible. In a way, it was wise to lead off the E.P. with this song, as it addresses the issue that many would have as it regarded comparing the two vocalists and determining whether or not Peter could fill Masse's shoes, so to speak. While the difference is noticeable, he proves himself fully competent in this role.
The following song is much stronger and is used as the first track (the title track is omitted) on the digipak version of Osculum Obscenum, which includes the songs from this E.P. (as well as from the Pleasure of Molestation E.P.) as bonus tracks. "Symbol of Baphomet" It a fairly intense song, that utilizes some thrash riffs to go along with the Swedish death metal assault. There's some otherworldly quality to the solos, which is something Hypocrisy was well known for in those days. About halfway through, the pace slows down a bit and begins building an ethereal atmosphere, which includes some spoken word bit, in the background. Shortly after this, things pick up again and the song ends with much the same intensity that it possessed in the opening moments.
"Mental Emotions" was one of the first Hypocrisy songs that I ever heard. This one begins with a much slower pace, with the doom vibe that the band was quite known for having. After a minute or so, it speeds up while never getting terribly fast (save for a brief blast beat). The production of this E.P. is a bit clearer than on the previous albums, though still a little raw when compared to The Fourth Dimension. Vocally, Peter shows a bit of range as he goes from the deeper growls to the more high-pitched shrieks. This song is very memorable and one that will get caught in your mind after the first listen.
The next song is a re-recorded version of "God Is A Lie". The slight improvement in production is a plus, in this case, as things are more crisp and sped up as well. In fact, it's so much faster than the original that they were able to add some brief sample, near the end, in order to fill in time I would assume. It's an odd sample, as it features part of the intro to the title track of their debut album, mixed with the intro noises from their cover of Venom's "Black Metal", from Osculum Obscenum. Also, the solo seems to have been re-worked and expanded. All in all, it has a bit more punch than the Penetralia version.
Inferior Devoties concludes with a cover of Slayer's "Black Magic", which also appeared on the tribute album, Slatanic Slaughter. Musically, this is very faithful to the original version. Even Hedlund's bass sounds to have a similar tone. The primary difference, of course, are the harsh vocals. Peter does a really good job, showing some variation here. Most surprising of all, is where he actually breaks into a high-pitched scream, at one point. Along with Dissection, Hypocrisy managed to stand out on the tribute album as being among the few to preserve the essence of what Slayer had done. The playing is tight and they've done just enough to add their own touch to it, while maintaining the atmosphere of the original. This is a much better choice for a cover song, than "Black Metal", as it just seems to blend in with the rest of the material, somehow.
This E.P. was successful in giving Hypocrisy fans a taste of the new line-up (sans Broberg), as well as a collection of good songs that places this among my favourite mini albums. The one thing it failed to do, though I doubt this was ever the intent, was to give any indication as to what direction the band would take on the following album. Regardless, this is a quality release and, if it's still available, one that is highly recommended.
The E.P. begins with "Inferior Devoties", which sounds to be just the same instrumental track as that found on the previous full-length, with only the vocals replaced. One might assume that the point of doing this was to prove that Peter could handle the earlier material, though it comes off a little weaker than the original version. His vocals were not quite as refined as they would be on The Fourth Dimension. The atmosphere is much the same, with an added crispness to the sound, which is barely perceptible. In a way, it was wise to lead off the E.P. with this song, as it addresses the issue that many would have as it regarded comparing the two vocalists and determining whether or not Peter could fill Masse's shoes, so to speak. While the difference is noticeable, he proves himself fully competent in this role.
The following song is much stronger and is used as the first track (the title track is omitted) on the digipak version of Osculum Obscenum, which includes the songs from this E.P. (as well as from the Pleasure of Molestation E.P.) as bonus tracks. "Symbol of Baphomet" It a fairly intense song, that utilizes some thrash riffs to go along with the Swedish death metal assault. There's some otherworldly quality to the solos, which is something Hypocrisy was well known for in those days. About halfway through, the pace slows down a bit and begins building an ethereal atmosphere, which includes some spoken word bit, in the background. Shortly after this, things pick up again and the song ends with much the same intensity that it possessed in the opening moments.
"Mental Emotions" was one of the first Hypocrisy songs that I ever heard. This one begins with a much slower pace, with the doom vibe that the band was quite known for having. After a minute or so, it speeds up while never getting terribly fast (save for a brief blast beat). The production of this E.P. is a bit clearer than on the previous albums, though still a little raw when compared to The Fourth Dimension. Vocally, Peter shows a bit of range as he goes from the deeper growls to the more high-pitched shrieks. This song is very memorable and one that will get caught in your mind after the first listen.
The next song is a re-recorded version of "God Is A Lie". The slight improvement in production is a plus, in this case, as things are more crisp and sped up as well. In fact, it's so much faster than the original that they were able to add some brief sample, near the end, in order to fill in time I would assume. It's an odd sample, as it features part of the intro to the title track of their debut album, mixed with the intro noises from their cover of Venom's "Black Metal", from Osculum Obscenum. Also, the solo seems to have been re-worked and expanded. All in all, it has a bit more punch than the Penetralia version.
Inferior Devoties concludes with a cover of Slayer's "Black Magic", which also appeared on the tribute album, Slatanic Slaughter. Musically, this is very faithful to the original version. Even Hedlund's bass sounds to have a similar tone. The primary difference, of course, are the harsh vocals. Peter does a really good job, showing some variation here. Most surprising of all, is where he actually breaks into a high-pitched scream, at one point. Along with Dissection, Hypocrisy managed to stand out on the tribute album as being among the few to preserve the essence of what Slayer had done. The playing is tight and they've done just enough to add their own touch to it, while maintaining the atmosphere of the original. This is a much better choice for a cover song, than "Black Metal", as it just seems to blend in with the rest of the material, somehow.
This E.P. was successful in giving Hypocrisy fans a taste of the new line-up (sans Broberg), as well as a collection of good songs that places this among my favourite mini albums. The one thing it failed to do, though I doubt this was ever the intent, was to give any indication as to what direction the band would take on the following album. Regardless, this is a quality release and, if it's still available, one that is highly recommended.
(19 Dec. 2009)
The Fourth Dimension (1994)
The Fourth Dimension is the third full-length album from Sweden's Hypocrisy. Following Osculum Obscenum, the band underwent some changes as Masse Broberg departed and Peter Tägtgren assumed the role of vocalist. The Inferior Devoties E.P. served as a transition from old to new, yet none would have been prepared for what was revealed here. The lyrics had not yet shifted as drastically as some seem to think, based on the title track. Anti-Christian sentiments still appear, though there is a more mystical and otherworldly quality to much of the material, as opposed to the blatant Satanic nature of the first two albums.
This album marked a dramatic departure from the Satanic war unleashed at the beginning of its predecessor. The cleaner, colder production and Peter's vocals changed the character of the band considerably. At times, that production does the faster material few favors, lacking the force and immediacy of the earlier albums. Where The Fourth Dimension truly distinguishes itself is in its slower, sorrowful moments. Doom influences creep into the songwriting, the atmosphere is frequently dismal, and a sense of grief hangs over much of the record.
No song captures this better than "Apocalypse". Opening with somber keyboards and crushing riffs that fade in and out, it immediately establishes the epic and mournful atmosphere that dominates the album. Peter's vocals remain close enough to Masse's to preserve some continuity, while incorporating screams and mournful chants of his own. It remains one of the classics of Hypocrisy's career and, if one track had to represent this album as a whole, this would be it.
That feeling resurfaces throughout the record in different forms. Sorrow drips from the solos and many of the riffs in "Reincarnation". "The North Wind", the first song I heard from this album, remains one of its highlights, with the fast parts working well while the slow dirges drag the listener into the depths of the abyss. The title track serves as the other bookend of darkness and despair. As slow as the opener, it possesses the same epic doom metal atmosphere. The lyrics and vocals convey terror and fear, while the haunting melodies and tormented screams point toward the more otherworldly direction that would define the next two releases.
Even so, the album does not abandon aggression altogether. "Reborn" is one of the faster songs that genuinely benefits from the approach taken here. The fast tremolo riffs are like a razor through your flesh, somewhat reminiscent of black metal and really shine through around the middle of the song This maintains ties with the band's earlier works without feeling out of place. "Black Forest" is another standout. Its gloomy riffs evoke a cold and grey winter day, and though some passages would have fit perfectly on Osculum Obscenum, it is the bleak, obscure black metal melody near the end that remains one of the album's finest moments. Elsewhere, Peter's admiration for Carcass occasionally becomes obvious. One solo in "Never To Return" is outright stolen from Heartwork. The difference is that where Carcass hinted at brilliance before moving on, Hypocrisy allowed the idea to progress naturally and develop into something more substantial.
While the faster songs rarely match the fury of Penetralia or Osculum Obscenum, The Fourth Dimension succeeds by embracing a darker and more sorrowful atmosphere. It may not have become the Heartwork-inspired album Peter initially envisioned, but the result was something far superior. This is where Hypocrisy truly began to realize their potential, and definitely one of the best records they ever made.
This album marked a dramatic departure from the Satanic war unleashed at the beginning of its predecessor. The cleaner, colder production and Peter's vocals changed the character of the band considerably. At times, that production does the faster material few favors, lacking the force and immediacy of the earlier albums. Where The Fourth Dimension truly distinguishes itself is in its slower, sorrowful moments. Doom influences creep into the songwriting, the atmosphere is frequently dismal, and a sense of grief hangs over much of the record.
No song captures this better than "Apocalypse". Opening with somber keyboards and crushing riffs that fade in and out, it immediately establishes the epic and mournful atmosphere that dominates the album. Peter's vocals remain close enough to Masse's to preserve some continuity, while incorporating screams and mournful chants of his own. It remains one of the classics of Hypocrisy's career and, if one track had to represent this album as a whole, this would be it.
That feeling resurfaces throughout the record in different forms. Sorrow drips from the solos and many of the riffs in "Reincarnation". "The North Wind", the first song I heard from this album, remains one of its highlights, with the fast parts working well while the slow dirges drag the listener into the depths of the abyss. The title track serves as the other bookend of darkness and despair. As slow as the opener, it possesses the same epic doom metal atmosphere. The lyrics and vocals convey terror and fear, while the haunting melodies and tormented screams point toward the more otherworldly direction that would define the next two releases.
Even so, the album does not abandon aggression altogether. "Reborn" is one of the faster songs that genuinely benefits from the approach taken here. The fast tremolo riffs are like a razor through your flesh, somewhat reminiscent of black metal and really shine through around the middle of the song This maintains ties with the band's earlier works without feeling out of place. "Black Forest" is another standout. Its gloomy riffs evoke a cold and grey winter day, and though some passages would have fit perfectly on Osculum Obscenum, it is the bleak, obscure black metal melody near the end that remains one of the album's finest moments. Elsewhere, Peter's admiration for Carcass occasionally becomes obvious. One solo in "Never To Return" is outright stolen from Heartwork. The difference is that where Carcass hinted at brilliance before moving on, Hypocrisy allowed the idea to progress naturally and develop into something more substantial.
While the faster songs rarely match the fury of Penetralia or Osculum Obscenum, The Fourth Dimension succeeds by embracing a darker and more sorrowful atmosphere. It may not have become the Heartwork-inspired album Peter initially envisioned, but the result was something far superior. This is where Hypocrisy truly began to realize their potential, and definitely one of the best records they ever made.
(5 Dec. 2008)
Abducted (1996)
Displeased with the guitar sound that was achieved on The Fourth Dimension, Peter Tägtgren went on to create his own studio. The first album to be recorded there was the black metal side-project of Hypocrisy, The Abyss. As the band laboured there throughout much of 1995, the cleaner and more atmospheric guitar tone from the previous album was replaced with something much harsher. It would appear that some of the feeling from The Other Side carried over into Hypocrisy, marking a change in the sound. Whatever the case, Abducted was released in February 1996.
The music here is quite eclectic. "Roswell 47" introduces a new element to Peter's vocal arsenal, a thin and raspy voice that had not yet been employed before. It is more akin to the black metal style, though a little too clean for that. Throughout the album, this alternates with a deeper and almost gargled vocal approach, resulting in a surprising amount of variation. Some of his higher-pitched screams are bloodfreezing. The sharper guitar tone works especially well on the faster and more aggressive material. "Killing Art" and the title track benefit from it greatly, adding a sense of lethality to those songs. At the same time, the album never settles into one mood for very long. Mid-paced and creepy, fast and aggressive, slow and depressive; already by the third song, Hypocrisy had unleashed three very different songs.
In truth, it is in the doom-filled and depressing moments that this band has always truly shined. "The Arrival of the Demons (Part 2)", "Paradox", and "When the Candle Fades" possess a cold and dismal feeling accentuated by sorrowful lead work, woeful choir vocals, and performances that sound half-dead and drained of life. Peter has a way of conveying feelings of misery and dread through music. The pain may burn in many ways, but it is all the same. "Reflections" is both eerie and sorrowful, building a sense of tragedy through its keyboard-driven atmosphere. This flows into "Slippin' Away", which would seem quite out of place, but somehow fits into the dark mood of the record. The clean guitars and vocals have an ethereal effect, while the lyrics and delivery are utterly miserable. Life is finally seen for what it really is; a punishment. Something to be escaped. "Drained" follows suit, being dreary and mournful, its exhausted vocals sounding as though all signs of life have nearly faded away. It conveys the sense of simply awaiting the end with open arms.
Some consider this to be a concept album, which doesn't actually seem to be the case. The true theme of this work is misery, in various forms. Abducted is one of Hypocrisy's more varied releases and seems to be the moment when the band found what would go on to be its trademark sound. This is one of their last good records and is certainly worth a listen.
The music here is quite eclectic. "Roswell 47" introduces a new element to Peter's vocal arsenal, a thin and raspy voice that had not yet been employed before. It is more akin to the black metal style, though a little too clean for that. Throughout the album, this alternates with a deeper and almost gargled vocal approach, resulting in a surprising amount of variation. Some of his higher-pitched screams are bloodfreezing. The sharper guitar tone works especially well on the faster and more aggressive material. "Killing Art" and the title track benefit from it greatly, adding a sense of lethality to those songs. At the same time, the album never settles into one mood for very long. Mid-paced and creepy, fast and aggressive, slow and depressive; already by the third song, Hypocrisy had unleashed three very different songs.
In truth, it is in the doom-filled and depressing moments that this band has always truly shined. "The Arrival of the Demons (Part 2)", "Paradox", and "When the Candle Fades" possess a cold and dismal feeling accentuated by sorrowful lead work, woeful choir vocals, and performances that sound half-dead and drained of life. Peter has a way of conveying feelings of misery and dread through music. The pain may burn in many ways, but it is all the same. "Reflections" is both eerie and sorrowful, building a sense of tragedy through its keyboard-driven atmosphere. This flows into "Slippin' Away", which would seem quite out of place, but somehow fits into the dark mood of the record. The clean guitars and vocals have an ethereal effect, while the lyrics and delivery are utterly miserable. Life is finally seen for what it really is; a punishment. Something to be escaped. "Drained" follows suit, being dreary and mournful, its exhausted vocals sounding as though all signs of life have nearly faded away. It conveys the sense of simply awaiting the end with open arms.
Some consider this to be a concept album, which doesn't actually seem to be the case. The true theme of this work is misery, in various forms. Abducted is one of Hypocrisy's more varied releases and seems to be the moment when the band found what would go on to be its trademark sound. This is one of their last good records and is certainly worth a listen.
(6 Aug. 2009)
The Final Chapter (1997)
By 1997, Peter Tägtgren had become a very busy man. He'd been doing the bulk of the songwriting for Hypocrisy all along, and had also been involved in projects like The Abyss, Pain, and War. On top of that, he was gaining more work as a producer, having opened his own studio. So, it was no surprise when he decided to put his primary band to rest and shift his focus toward his new role as a producer. That's what we all heard in November 1997, when The Final Chapter was released.
It wasn't too long after this album had been released that my best friend brought it over and tossed it in my stereo. I recall being fairly impressed, though it was more of a background thing as we played some stupid video game and talked about horror movies. As usual, I made sure to record it onto a tape. The next night, with only the flames of a few candles to illuminate the room, I listened to it again, placing all of my focus on the music. As it turned out, this music was exactly what my mood called for at the time. I listened to it again and again for weeks and months afterward. I had very little melodic or atmospheric death metal in my collection at the time, and The Final Chapter seemed to fill a gap. Really, it had quite an impact on me and, from this time on, I considered Hypocrisy's music to be beyond a simple exercise in listening; this was something to experience.
The production is thicker than on Abducted and a little more polished. Under other circumstances, this is about where I'd begin to lose interest, but the atmosphere and songwriting carry it. The vocals continue much of the approach heard on the previous album, alternating between deeper growls, higher-pitched screams, and occasional clean passages. Much of the album alternates between faster songs built around the higher-pitched vocals and slower tracks dominated by deeper growls and a more depressing atmosphere. Even so, the same mournful feeling runs through both approaches. There is something apocalyptic about the sound of this record. One cannot help but feel that the end is near.
"A Coming Race" is where the album really begins to shine. The brilliant tremolo melodies add another dimension that the previous song lacked, while the deeper vocal style hearkens back to The Fourth Dimension. Peter utilizes keyboards to accentuate the dark feeling created here, and does it quite well. This song is a good example of the mixing of black, death, and doom metal. Really, this statement could be applied to the album as a whole. It remains one of the most memorable songs of the band's career.
It is during these slower songs that Hypocrisy really shine and reach their potential to inspire dark feelings of dread and hopelessness. "Inquire Within" descends into crushing doom, making use of deep vocals and clean passages to create a helpless sense of misery and ruin. "Request Denied" maintains that same suffocating atmosphere. The lead solo somehow manages to bring these sentiments to life when human language is incapable of conveying such dark thoughts and fears. In the end, we're all dominated by fear. This is the strongest of all human emotions, eclipsing both love and hate. "Lies" returns to a slow, mournful pace, carrying a cold and desolate feeling through its variation in vocal delivery and faint clean passages. There is a nihilistic quality running through these songs, but also a longing for release. It is not necessary to view these ideas only in the context of the album itself. In our own way, all of us wonder if we'll ever reach the end, whether we like to admit it or not. Death becomes a constant undercurrent throughout the music, less a source of horror than a release from pain and monotony.
Elsewhere, the album pushes these ideas in different directions. "Through the Window of Time" breaks the established formula, pairing deeper vocals with some of the fastest material on the record. There's a brilliant black metal feeling to the tremolo riff featured in the chorus, giving the impression that they could have built the whole song around it. Another is unleashed about halfway through, joined by a shredding solo. This all comes together to create an atmosphere of chaos and impending doom. "Shamateur" and the title track, despite moving at the pace of a funeral march, arrive at a similarly tortured destination. The slow drums are counteracted by fast tremolo picking, creating melodies that slither through the mind in a slow and methodical manner. The middle section deepens the already hellish atmosphere, as whispered vocals emerge in the background accompanied by indecipherable screams.
More than anything else, The Final Chapter remains an album to experience. It had quite an impact on me when I first heard it, and years later that hasn't changed. The sense of despair, fear, exhaustion, and longing for release that runs throughout these songs is difficult to put into words. Hypocrisy had never sounded quite like this before, nor would they again.
It wasn't too long after this album had been released that my best friend brought it over and tossed it in my stereo. I recall being fairly impressed, though it was more of a background thing as we played some stupid video game and talked about horror movies. As usual, I made sure to record it onto a tape. The next night, with only the flames of a few candles to illuminate the room, I listened to it again, placing all of my focus on the music. As it turned out, this music was exactly what my mood called for at the time. I listened to it again and again for weeks and months afterward. I had very little melodic or atmospheric death metal in my collection at the time, and The Final Chapter seemed to fill a gap. Really, it had quite an impact on me and, from this time on, I considered Hypocrisy's music to be beyond a simple exercise in listening; this was something to experience.
The production is thicker than on Abducted and a little more polished. Under other circumstances, this is about where I'd begin to lose interest, but the atmosphere and songwriting carry it. The vocals continue much of the approach heard on the previous album, alternating between deeper growls, higher-pitched screams, and occasional clean passages. Much of the album alternates between faster songs built around the higher-pitched vocals and slower tracks dominated by deeper growls and a more depressing atmosphere. Even so, the same mournful feeling runs through both approaches. There is something apocalyptic about the sound of this record. One cannot help but feel that the end is near.
"A Coming Race" is where the album really begins to shine. The brilliant tremolo melodies add another dimension that the previous song lacked, while the deeper vocal style hearkens back to The Fourth Dimension. Peter utilizes keyboards to accentuate the dark feeling created here, and does it quite well. This song is a good example of the mixing of black, death, and doom metal. Really, this statement could be applied to the album as a whole. It remains one of the most memorable songs of the band's career.
It is during these slower songs that Hypocrisy really shine and reach their potential to inspire dark feelings of dread and hopelessness. "Inquire Within" descends into crushing doom, making use of deep vocals and clean passages to create a helpless sense of misery and ruin. "Request Denied" maintains that same suffocating atmosphere. The lead solo somehow manages to bring these sentiments to life when human language is incapable of conveying such dark thoughts and fears. In the end, we're all dominated by fear. This is the strongest of all human emotions, eclipsing both love and hate. "Lies" returns to a slow, mournful pace, carrying a cold and desolate feeling through its variation in vocal delivery and faint clean passages. There is a nihilistic quality running through these songs, but also a longing for release. It is not necessary to view these ideas only in the context of the album itself. In our own way, all of us wonder if we'll ever reach the end, whether we like to admit it or not. Death becomes a constant undercurrent throughout the music, less a source of horror than a release from pain and monotony.
Elsewhere, the album pushes these ideas in different directions. "Through the Window of Time" breaks the established formula, pairing deeper vocals with some of the fastest material on the record. There's a brilliant black metal feeling to the tremolo riff featured in the chorus, giving the impression that they could have built the whole song around it. Another is unleashed about halfway through, joined by a shredding solo. This all comes together to create an atmosphere of chaos and impending doom. "Shamateur" and the title track, despite moving at the pace of a funeral march, arrive at a similarly tortured destination. The slow drums are counteracted by fast tremolo picking, creating melodies that slither through the mind in a slow and methodical manner. The middle section deepens the already hellish atmosphere, as whispered vocals emerge in the background accompanied by indecipherable screams.
More than anything else, The Final Chapter remains an album to experience. It had quite an impact on me when I first heard it, and years later that hasn't changed. The sense of despair, fear, exhaustion, and longing for release that runs throughout these songs is difficult to put into words. Hypocrisy had never sounded quite like this before, nor would they again.
(13 Sept. 2009)
Hypocrisy (1999)
In 1997, Peter Tägtgren decided that it was time for Hypocrisy to call it quits. He was busy with his new studio and seemed to be burned out, creatively. In the span of a couple years, he had recorded albums with Hypocrisy, The Abyss, War and Pain, as well as the countless albums that he was producing. To go along with this, the other members of Hypocrisy weren't really contributing much of anything. As it would later turn out, this was for the better.
After the release of The Final Chapter, as well as the great performance at the 1998 Wacken Open Air Festival, there was a strong sentiment from their fans to continue the band. Perhaps, other factors played a part as well, but Peter decided against disbanding Hypocrisy and to begin working on a new album. Mikael Hedlund and Lars Szöke actually participated a bit more in the songwriting process, but it didn't appear that this was a good idea. Actually, it would have been more appropriate if the band had died when they originally planned, as they've done nothing but tarnish their legacy ever since.
Hypocrisy was released in June 1999 and it was quite a disappointment for many fans. In trying to be somewhat objective, it's worth noting that the overall sound isn't so different from the previous album, upon first listen. Musically, there are a handful of riffs that would have fit in well, on either Abducted or The Final Chapter. However, there are so many things about this album that just ruin it. To avoid being overwhelmed by the multitude of faults that this release possesses, I'll try to simply focus on them in the order that they appear.
"Fractured Millennium" begins with a keyboard intro. This is problem number one. Now, the band had been making use of keyboards since the beginning. The difference was that they were utilized in a much more appropriate manner. This certainly doesn't compare with the eerie intro to "Pleasure of Molestation". It's way overdone, and the listener will find that, during the course of the album, there is an abundance of keyboards that seem to really take away from the rest of the music. One must keep in mind that, around 1999, the whole symphonic "black metal" movement was in full swing, so this may have had some influence on the terrible abuse featured on this album.
The next flaw may be the one that really murders any potential that this album had. The vocals are awful. In some places, Peter uses the same style that he had developed on the previous couple releases. However, he also incorporates more clean voice mixed in with this, being neither clean nor harsh, but a mixture of the two. It's very weak and wretched. He avoids this on "Apocalyptic Hybrid", for the most part, but it doesn't matter so much as that song is rather boring anyway. More often than not, throughout the duration of the record, he implements his new whining style and it may be the single worst element of the album. The songwriting is pretty weak, overall, but even the tracks that could have been enjoyable end up ruined because of the unnecessary variation in the vocals.
As for the songwriting, itself, the main issue here is consistency. On Abducted and The Final Chapter, the songs all fit together well and each one served a purpose to the album, as a whole. Hypocrisy features too many throw-away songs and rehashed ideas from the past. As a matter of fact, all of the best ideas on this album were already introduced on earlier releases. Perhaps, Peter had run out of ideas. That could be one of the reasons that he wanted to put an end to the band, initially. Or, it could be that the other two members, in being forced to contribute something and wanting to make sure their ideas fit into the band's style, simply ripped off what they'd done before. Possibly, it is a combination of both. There are a few songs that could have been decent, such as "Elastic Inverted Visions" and "Until the End". I've always maintained that Hypocrisy really shined when it came to the slower, almost doom-like songs. Of course, Peter's terrible vocals and the horrid production kill any chance that these had, as well.
That brings me to the final element that killed this album, dead in its tracks. The production is too slick and modern. It's the natural progression of Peter's production style, as one can see the evolution by looking back at the previous few albums. However, though I cannot pinpoint exactly how or why, he crossed the line with this one. An album like The Final Chapter can get away with the modern sound, but the self-titled effort possesses too many faults for this to be overlooked. It could also be that the songwriting, itself, had become too modern by this point.
Though bearing a handful of decent riffs, Hypocrisy is a failure and things would only get worse. In the end, this situation can be summed up with a quote from Friedrich Nietzsche: "One should die proudly when it is no longer possible to live proudly". The Final Chapter should have lived up to its name, and Hypocrisy Destroys Wacken could have served merely as an epitaph for the tombstone of this once respectable band.
After the release of The Final Chapter, as well as the great performance at the 1998 Wacken Open Air Festival, there was a strong sentiment from their fans to continue the band. Perhaps, other factors played a part as well, but Peter decided against disbanding Hypocrisy and to begin working on a new album. Mikael Hedlund and Lars Szöke actually participated a bit more in the songwriting process, but it didn't appear that this was a good idea. Actually, it would have been more appropriate if the band had died when they originally planned, as they've done nothing but tarnish their legacy ever since.
Hypocrisy was released in June 1999 and it was quite a disappointment for many fans. In trying to be somewhat objective, it's worth noting that the overall sound isn't so different from the previous album, upon first listen. Musically, there are a handful of riffs that would have fit in well, on either Abducted or The Final Chapter. However, there are so many things about this album that just ruin it. To avoid being overwhelmed by the multitude of faults that this release possesses, I'll try to simply focus on them in the order that they appear.
"Fractured Millennium" begins with a keyboard intro. This is problem number one. Now, the band had been making use of keyboards since the beginning. The difference was that they were utilized in a much more appropriate manner. This certainly doesn't compare with the eerie intro to "Pleasure of Molestation". It's way overdone, and the listener will find that, during the course of the album, there is an abundance of keyboards that seem to really take away from the rest of the music. One must keep in mind that, around 1999, the whole symphonic "black metal" movement was in full swing, so this may have had some influence on the terrible abuse featured on this album.
The next flaw may be the one that really murders any potential that this album had. The vocals are awful. In some places, Peter uses the same style that he had developed on the previous couple releases. However, he also incorporates more clean voice mixed in with this, being neither clean nor harsh, but a mixture of the two. It's very weak and wretched. He avoids this on "Apocalyptic Hybrid", for the most part, but it doesn't matter so much as that song is rather boring anyway. More often than not, throughout the duration of the record, he implements his new whining style and it may be the single worst element of the album. The songwriting is pretty weak, overall, but even the tracks that could have been enjoyable end up ruined because of the unnecessary variation in the vocals.
As for the songwriting, itself, the main issue here is consistency. On Abducted and The Final Chapter, the songs all fit together well and each one served a purpose to the album, as a whole. Hypocrisy features too many throw-away songs and rehashed ideas from the past. As a matter of fact, all of the best ideas on this album were already introduced on earlier releases. Perhaps, Peter had run out of ideas. That could be one of the reasons that he wanted to put an end to the band, initially. Or, it could be that the other two members, in being forced to contribute something and wanting to make sure their ideas fit into the band's style, simply ripped off what they'd done before. Possibly, it is a combination of both. There are a few songs that could have been decent, such as "Elastic Inverted Visions" and "Until the End". I've always maintained that Hypocrisy really shined when it came to the slower, almost doom-like songs. Of course, Peter's terrible vocals and the horrid production kill any chance that these had, as well.
That brings me to the final element that killed this album, dead in its tracks. The production is too slick and modern. It's the natural progression of Peter's production style, as one can see the evolution by looking back at the previous few albums. However, though I cannot pinpoint exactly how or why, he crossed the line with this one. An album like The Final Chapter can get away with the modern sound, but the self-titled effort possesses too many faults for this to be overlooked. It could also be that the songwriting, itself, had become too modern by this point.
Though bearing a handful of decent riffs, Hypocrisy is a failure and things would only get worse. In the end, this situation can be summed up with a quote from Friedrich Nietzsche: "One should die proudly when it is no longer possible to live proudly". The Final Chapter should have lived up to its name, and Hypocrisy Destroys Wacken could have served merely as an epitaph for the tombstone of this once respectable band.
(27 June 2010)
Into the Abyss (2000)
Around the time this album was released, Peter Tägtgren said in interviews that Into the Abyss would be a return to the band's roots, a claim that always seems to be false when spewed by any musician past their prime. Following the absolute atrocity of Hypocrisy, it almost sounded as if the band realized they had gone a bit too far and were correcting their course. At least that is what some of us were hoping. Unfortunately, that was not entirely true. By 2000, the Studio Abyss sound had been established for a few years and it was well known to be a slick, modern, soulless sound. What this meant was that no amount of great songwriting could have survived such horrid production, even if they had truly embraced their old ways. This would be evident the following year when they re-recorded many of their old songs and completely ruined them with the sterile and wetched production.
Peter was not completely lying in those interviews. There are a handful of tracks here that are quite solid and hearken back to the band's past glory days. "Legions Descend" is the best song on here and likely the best pure death metal that they'd written in several years, reminiscent of the material on Osculum Obscenum. Obviously, it's a common thing to start an album with the strongest track but in this case it set the bar too high and everything that followed was a bit of a disappointment. As for the other decent songs, "Blinded" isn't bad at all and wouldn't have been out of place on Abducted or The Final Chapter. "Total Eclipse" is also passable by comparison to the worst things on here. "Sodomized" is a little better, featuring faster riffs and being a bit more dynamic. Had Into the Abyss been a four song E.P. that featured only these compositions it would have been a half-decent return to form, despite the terrible modern production. Regrettably, there was more. The rest ranges from dull and pointless to utter trash that picks right up from where Hypocrisy left off, including the cleaner vocals found on tracks like "Fire in the Sky".
Even the very best song on here still feels kind of dirty to listen to because of the nauseatingly modern, plastic sound. Perhaps such is not the case for younger listeners, but for someone who came up with '80s and '90s metal, it was by this point where so much became exceedingly difficult to digest because of the cursed technology of the times. Once guys in underground bands become "professional musicians" and lose touch with how this stuff is supposed to sound, opting to go for whatever will make their music more accessible as opposed to what would best suit the material (and make no mistake about it, and there is no room for debate on this, black and death metal were never meant to sound crystal clear, slick and modern) then it's time to write them off. Into the Abyss failed its goal of returning to the roots of Hypocrisy's Satanic death metal, with only brief nods given to those long forgotten days. Listen to the first song and then forget the rest of this even exists.
Peter was not completely lying in those interviews. There are a handful of tracks here that are quite solid and hearken back to the band's past glory days. "Legions Descend" is the best song on here and likely the best pure death metal that they'd written in several years, reminiscent of the material on Osculum Obscenum. Obviously, it's a common thing to start an album with the strongest track but in this case it set the bar too high and everything that followed was a bit of a disappointment. As for the other decent songs, "Blinded" isn't bad at all and wouldn't have been out of place on Abducted or The Final Chapter. "Total Eclipse" is also passable by comparison to the worst things on here. "Sodomized" is a little better, featuring faster riffs and being a bit more dynamic. Had Into the Abyss been a four song E.P. that featured only these compositions it would have been a half-decent return to form, despite the terrible modern production. Regrettably, there was more. The rest ranges from dull and pointless to utter trash that picks right up from where Hypocrisy left off, including the cleaner vocals found on tracks like "Fire in the Sky".
Even the very best song on here still feels kind of dirty to listen to because of the nauseatingly modern, plastic sound. Perhaps such is not the case for younger listeners, but for someone who came up with '80s and '90s metal, it was by this point where so much became exceedingly difficult to digest because of the cursed technology of the times. Once guys in underground bands become "professional musicians" and lose touch with how this stuff is supposed to sound, opting to go for whatever will make their music more accessible as opposed to what would best suit the material (and make no mistake about it, and there is no room for debate on this, black and death metal were never meant to sound crystal clear, slick and modern) then it's time to write them off. Into the Abyss failed its goal of returning to the roots of Hypocrisy's Satanic death metal, with only brief nods given to those long forgotten days. Listen to the first song and then forget the rest of this even exists.
(12 Apr. 2025)
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